LIFE. Sci-fi that will keep you on the edge of your seat
Despite some difficulties, they manage to intercept it.
The delivered material is immediately transferred to the laboratory and subjected to analysis in order to find any trace of life. Very quickly, such a trace is discovered. The Martian orange dust turns out to contain microscopic-sized elements. With the help of various means, scientists try to provoke even the slightest reaction from it. This is a historic moment, the significance of which everyone is aware of. Director Daniel Espinosa manages to build the appropriate tension and convey the significance of this event. Life arouses considerable curiosity from the first minutes.
Science fiction cinema has probably provided us with all the visions of extraterrestrial beings that our imagination can offer. In this context, the unassuming opening of Espinosa’s film enters into a dialogue with the genre’s legacy. It’s not about another humanoid monster, but about an imperceptible particle. The most important thing is that it proves we are not alone in the universe. In the film narrative, this discovery is as groundbreaking as the alien invasion in Independence Day.
It’s a pity that Life doesn’t focus longer on expressing the moment of awe and the inevitable questions arising from it, such as what stance to take toward this discovery. Espinosa quickly shifts into a higher gear, simultaneously falling into rather overused narrative tracks, and the film turns into a pure monster horror. The cell rapidly grows. At first, it resembles a flower, then it takes on a shape similar to an octopus. It’s an intelligent and extremely aggressive form of life. Of course, at some point, the situation spirals out of control. The alien creature, named Calvin, escapes from the laboratory.
Daniel Espinosa has a vision for this film. He convinces me with the opening sequence, shot in one long take. The creators take us through the tight corridors of the station, offering a dense and chilly atmosphere. We also get to know all the crew members. The characters may not be anonymous, but they’re entirely ordinary. Even a charismatic actor like Jake Gyllenhaal doesn’t overshadow the ensemble. However, as the finale approaches, the director more effectively builds the film’s dramatic weight. It’s no longer just about survival on the station. Life is a kind of cinema whose main goal is to create a mood of horror and helplessness. At many points, it can genuinely frighten. A major strength of this production is undoubtedly the intriguing, repulsive image of the alien. How it moves, evolves, and uses various methods to eliminate its victims. Almost in defiance of the horror convention, Espinosa often shows it in full view, allowing the audience to examine it closely. And it succeeds. Calvin retains a constant aura of mystery.
In Life, some of the illogical decisions made by supposedly trained scientists can be bothersome. Obvious safety rules are broken, giving the impression of being pretextual. After all, the plot must somehow move forward. It may be a detail, but Calvin’s rapid growth genuinely raises questions. Of course, it’s all pure fiction. Creators can propose any sequence of events, and it can’t be questioned. However, the alien’s swift transformation is surprising and creates a jarring contrast with the relatively scientific realism the film attempts to adhere to. It’s pure science fiction, but very close to our time and devoid of stylistic extravagance.
Life will inevitably draw comparisons to Alien. Espinosa’s film uses practically the same narrative template and adopts a very similar, skeptical stance toward space exploration. Despite falling into known clichés, Life is never boring. Predictability doesn’t detract from the experience; in fact, it keeps the audience on the edge of their seats throughout the entire viewing. The film’s ending is completely satisfying, giving new meanings to the seemingly trivial title and remaining memorable long after the end credits. Daniel Espinosa walks a fine line between homage and replication of Ridley Scott’s masterpiece. If you’re going to learn, it’s best to learn from the best. Perhaps that’s why Life is such a good film.
Maciej Niedźwiedzki